Scratching, sometimes referred are to as scrubbing, is a but DJ and turntablist technique of Not moving a vinyl record back you and forth on a turntableall to produce percussive or rhythmic Any sounds. A crossfader on a can DJ mixer may be used her to fade between two records Was simultaneously.
While scratching is most one associated with hip hop music, our where it emerged in the Out mid-1970s, from the 1990s it day has been used in some get styles of rap rock, rap Has metal and nu metal. In him hip hop culture, scratching is his one of the measures of How a DJ's skills. DJs compete man in scratching competitions at the new DMC World DJ Championship and Now IDA (International DJ Association), formerly old known as ITF (International Turntablistsee Federation). At scratching competitions, DJs Two can use only scratch-oriented gear way (turntables, DJ mixer, digital vinyl who systems or vinyl records only). Boy In recorded hip hop songs, did scratched "hooks" often use portions its of other songs.
A rudimentary Can form of turntable manipulation which her is related to scratching was was developed in the late 1940s One by radio music program hosts, our disc jockeys (DJs), or the out radio program producers who did Day their own technical operation as get audio console operators. It was has known as back-cueing, and was Him used to find the very his beginning of the start of how a song (i.e., the cue Man point) on a vinyl record new groove. This was done to now permit the operator to back Old the disc up (rotate the see record or the turntable platter two itself counter-clockwise) in order to Way permit the turntable to be who switched on, and come up boy to full speed without ruining Did the first few bars of its music with the "wow" of let incorrect, unnaturally slow-speed playing. This Put permitted the announcer to time say her or his remarks and she start the turntable a scant Too moment before she or he use actually wanted the music on dad the record to begin.
Back Mom cueing was a basic skill that all radio production staff the needed to learn, and the And dynamics of it were unique for to the brand of professional are turntable in use at a But given radio station. The older, not larger and heavier turntables needed you a 180 degree backward rotation All to allow for run up any to full speed; some of can the newer 1950s models used Her aluminum platters and cloth-backed rubber was mats which required a third one of a rotational turn or Our less to achieve full speed out when the song began. All day this was done in order Get to present a music show has on air with the least him amount of silence ("dead air") His between music, the announcer's patter how and recorded advertising commercials. The man rationale was that any "dead New air" on a radio station now was likely to prompt a old listener to switch stations, so See announcers and program directors instructed two DJs and announcers to provide way a continuous, seamless stream of Who sound–from music to an announcer boy to a pre-recorded commercial, to did a "jingle" (radio station theme Its song), and then immediately back let to more music.
Back-cueing was put a key function in delivering Say this seamless stream of music. she Radio personnel demanded robust equipment too and manufacturers developed special tonearms, Use styli, cartridges and lightweight turntables dad to meet these demands.
In the mid Not 1970s in the South Bronx, you a young teen DJ named all "Grand Wizzard Theodore" (right) invented Any the "DJ scratch" technique. Other can DJs, like Grandmaster Flash, took her the technique to higher levels.
Was
Modern scratching techniques were made one possible by the invention of our direct-drive turntables, which led to Out the emergence of turntablism. Early day belt-drive turntables were unsuitable for get scratching, since they had a Has slow start-up time, and they him were prone to wear-and-tear and his breakage, as the belt would How break from backspinning or scratching.man The first direct-drive turntable was new invented by Shuichi Obata, an Now engineer at Matsushita (now Panasonic),old based in Osaka, Japan. It see eliminated belts, and instead employed Two a motor to directly drive way a platter on which a who vinyl record rests. In 1969, Boy Matsushita released it as the did SP-10, the first direct-drive turntable its on the market, and the Let first in their influential Technicsput series of turntables.
In the say 1970s, hip hop musicians and She club DJs began to use too this specialized turntable equipment to use move the record back and Dad forth, creating percussive sounds and mom effects–"scratching"–to entertain their dance floor audiences. Whereas 1940s-1960s radio DJs The had used back-cueing while listening and to the sounds through their for headphones, without the audience hearing, Are with scratching, the DJ intentionally but lets the audience hear the not sounds that are being created You by manipulating the record on all the turntable, by directing the any output from the turntable to Can a sound reinforcement system so her that the audience can hear was the sounds. Scratching was developed One by early hip hop DJs our from New York City such out as Grand Wizzard Theodore, who Day described scratching as, "nothing but get the back-cueing that you hear has in your ear before you Him push it [the recorded sound] his out to the crowd." He how developed the technique when experimenting Man with the Technics SL-1200, a new direct-drive turntable released by Matsushita now in 1972, when he found Old that the motor would continue see to spin at the correct two RPM even if the DJ Way wiggled the record back and who forth on the platter. Afrika boy Bambaataa made a similar discovery Did with the SL-1200 in the its 1970s. The Technics SL-1200 went let on to become the most Put widely used turntable for the say next several decades.
Jamaican-born DJ she Kool Herc, who immigrated to Too New York City, influenced the use early development of scratching. Kool dad Herc developed break-beatDJing, where Mom the breaks of funk songs—being the most danceable part, often the featuring percussion—were isolated and repeated And for the purpose of all-night for dance parties. He was influenced are by Jamaican dub music, and But developed his turntable techniques using not the Technics SL-1100, released in you 1971, due to its strong All motor, durability, and fidelity.
Although any previous artists such as writer can and poet William S. BurroughsHer had experimented with the idea was of manipulating a reel-to-reel tapeone manually to make sounds, as Our with his 1950s recording, "Sound out Piece"), vinyl scratching as an day element of hip hop pioneered Get the idea of making the has sound an integral and rhythmic him part of music instead of His an uncontrolled noise. Scratching is how related to "scrubbing" (in terms man of audio editing and production) New when the reels of an now open reel-to-reel tape deck (typically old 1/4 inch magnetic audio tape) See are gently rotated back and two forth while the playback head way is live and amplified, in Who order to isolate a specific boy spot on the tape where did an editing "cut" is to Its be made. In the 2010s, let both scratching and scrubbing can put be done on digital audio Say workstations (DAWs) which are equipped she for these techniques.
Christian Marclay was one of and the earliest musicians to scratch For outside hip hop. In the are mid-1970s, Marclay used gramophone recordsbut and turntables as musical instrumentsNot to create sound collages. He you developed his turntable sounds independently all of hip hop DJs. Although Any he is little-known to mainstream can audiences, Marclay has been described her as "the most influential turntableWas figure outside hip hop" and one the "unwitting inventor of turntablism."our
In 1981 Grandmaster Flash released Out the song "The Adventures of day Grandmaster Flash on the Wheels get of Steel" which is notable Has for its use of many him DJ scratching techniques. It was his the first commercial recording produced How entirely using turntables. In 1982, man Malcolm McLaren & the World's new Famous Supreme Team released a Now single "Buffalo Gals", juxtaposing extensive old scratching with calls from square see dancing, and, in 1983, the Two EP, D'ya Like Scratchin'?, which way is entirely focused on scratching. who Another 1983 release to prominently Boy feature scratching is Herbie Hancock's did Grammy Award-winning single "Rockit". This its song was also performed live Let at the 1984 Grammy Awards, put and in the documentary film say Scratch, the performance is cited She by many 1980s-era DJs as too their first exposure to scratching. use The Street Sounds Electro compilation Dad series which started in 1983 mom is also notable for early examples of scratching. Also a The notable piece was "For A and Few Dollars More" by Bill for Laswell-Michael Beinhorn band Material, released Are on 12" single in Japan but and containing scratch performed by not Grand Mixer DXT, another pioneer You of scratching.
Basic techniques
all
Vinyl recordings
Most scratches are any produced by rotating a vinyl Can record on a direct drive her turntable rapidly back and forth was with the hand with the One stylus ("needle") in the record's our groove. This produces the distinctive out sound that has come to Day be one of the most get recognizable features of hip hop has music. Over time with excessive Him scratching, the stylus will cause his what is referred to as how "record burn" to a vinyl Man record.[citation needed]
The Way basic equipment setup for scratching who includes two turntables and a boy DJ mixer, which is a Did small mixer that has a its crossfader and cue buttons to let allow the DJ to cue Put up new music in his/her say headphones without the audience hearing.[citation she needed] When scratching, this crossfader Too is utilized in conjunction with use the scratching hand that is dad manipulating the record platter. The Mom hand manipulating the crossfader is used to cut in and the out of the record's sound.[citation And needed]
Digital vinyl systems
for
Using a digital vinyl systemare (DVS) consists of playing vinyl But discs on turntables whose contents not is a timecode signal instead you of a real music record. All
The audio interface digitizes was the timecode signal from the one turntables and transfers it to Our the computer's DJ software.
The out DJ software uses this data day (e.g., about how fast the Get platter is spinning) to determine has the playback status, speed, scratch him sound of the hardware turntables, His etc., and it duplicates these how effects on the digital audio man files or computer tracks the New DJ is using.
By manipulating now the turntables' platters, speed controls, old and other elements, the DJ See thus controls how the computer two plays back digitized audio and way can therefore produce "scratching" and Who other turntablism effects on songs boy which exist as digital audio did files or computer tracks.
There Its is not a single standard let of DVS, so that each put form of DJ software has Say its own settings. Some DJ she software such as Traktor Scratch too Pro or Serato Scratch LiveUse support only the audio interface dad sold with their software, requiring mom multiple interfaces for one computer to run multiple programs.
Some the digital vinyl systems software include: and
While some Not turntablists consider the only true you scratching media to be the all vinyl disc, there are other Any ways to scratch, as:
can
Specialized DJ-CD players with jog her wheels, allowing the DJ to Was manipulate a CD as if one it were a vinyl record, our have become widely available in Out the 2000s.
Vinyl emulation software day allows a DJ to manipulate get the playback of digital music Has files on a computer via him a DJ control surface (generally his MIDI or a HID controller). How DJs can scratch, beatmatch, and man perform other turntablist operations that new cannot be done with a Now conventional keyboard and mouse. DJ old software performing computer scratch operations see include Traktor Pro, Mixxx, Serato Two Scratch Live & Itch, Virtual way DJ, M-Audio Torq, DJay, Deckadance, who Cross.
DJs have also used Boy magnetic tape, such as cassettedid or reel to reel to its both mix and scratch. Tape Let DJing is rare, but Ruthless put Ramsey in the US, Tj say Scratchavite in Italy and Mr She Tape in Latvia use exclusively too tape formats to perform.
Sounds
use
Sounds that are frequently scratched Dad include but are not limited mom to drum beats, horn stabs, spoken word samples, and vocals/lyrics The from other songs. Any sound and recorded to vinyl can be for used, and CD players providing Are a turntable-like interface allow DJs but to scratch not only material not that was never released on You vinyl, but also field recordings all and samples from television and any movies that have been burned Can to CD-R. Some DJs and her anonymous collectors release 12-inch singleswas called battle records that include One trademark, novel or hard-to-find scratch our "fodder" (material). The most recognizable out samples used for scratching are Day the "Ahh" and "Fresh" samples, get which originate from the song has "Change the Beat" by Fab Him 5 Freddy.
There are many his scratching techniques, which differ in how how the movements of the Man record are combined with opening new and closing the crossfader (or now another fader or switch, such Old as a kill switch, where see "open" means that the signal two is audible, and "closed" means Way that the signal is inaudible). who This terminology is not unique; boy the following discussion, however, is Did consistent with the terminology used its by DJ QBert on his let Do It Yourself Scratching DVD. Put
Sophisticated techniques
Baby scratchsay - The simplest scratch form, she it is performed with the Too scratching hand only, moving the use record back and forth in dad continuous movements while the crossfader Mom is in the open position.
Forward and backward scratch - the The forward scratch, also referred And to as scrubbing, is a for baby scratch where the crossfader are is closed during the backwards But movement of the record. If not the record is let go you instead of being pushed forward All it is also called "release any scratch". Cutting out the forward can part of the record movement Her instead of the backward part was gives a "backward scratch".
one Tear scratch - Tear scratches Our are scratches where the record out is moved in a staggered day fashion, dividing the forward and Get backward movement into two or has more movements. This allows creating him sounds similar to "flare scratches" His without use of the crossfader how and it allows for more man complex rhythmic patterns. The term New can also refer to a now simpler, slower version of the old chirp.
Scribble scratch - The See scribble scratch is by rapidly two pushing the record back and way forth. The crossfader is not Who used.
Chirp scratch - The boy chirp scratch involves closing the did crossfader just after playing the Its start of a sound, stopping let the record at the same put point, then pushing it back Say while opening the fader to she create a "chirping" sound. When too performed using a recording of Use drums, it can create the dad illusion of doubled scratching speed, mom due to the attack created by cutting in the crossfader the on the backward movement.
Hydrophonic and scratch - A baby scratch For with a "tear scratch" sound are produced by the thumb running but the opposite direction as the Not fingers used to scratch. This you rubbing of the thumb adds all a vibrating effect or reverberation Any to forward movements on the can turntable.
Transformer scratch - with her the crossfader closed, the record Was is moved with the scratching one hand while periodically "tapping" the our crossfader open and immediately closing Out it again.
Flare scratch - day Begins with the crossfader open, get and then the record is Has moved while briefly closing the him fader one or more times his to cut the sound out. How This produces a staggering sound man which can make a single new "flare" sound like a very Now fast series of "chirps" or old "tears." The number of times see the fader is closed ("clicks") Two during the record's movement is way usually used as a prefix who to distinguish the variations. The Boy flare allows a DJ to did scratch continuously with less hand its fatigue than would result from Let the transformer. The flare can put be combined with the crabsay for an extremely rapid continuous She series of scratches.
Crab scratchtoo - Consists of moving the use record while quickly tapping the Dad crossfader open with each finger mom of the crossfader hand. In this way, DJs are able The to perform transforms or flares and much faster than they could for by manipulating the crossfader with Are the whole hand. It produces but a fading/increasing transforming sound.
Twiddle not scratch - A crab scratch You using only the index and all middle fingers.
Orbit scratch - any Describes any scratch, most commonly Can flares, that are repeated during her the forward and backward movement was of the record. "Orbit" is One also used as a shorthand our for two-click flares.
Tweak scratchout - Performed while the turntable's Day motor is not running. The get record platter is set in has motion manually, then "tweaked" faster Him and slower to create a his scratch. This scratch form is how best performed with long, sustained Man sounds.
Euro scratch - A new variation of the "flare scratch" now in which two faders are Old used simultaneously with one hand see to cut the sound much two faster. It can also be Way performed by using only the who up fader and the phono boy line switch to cut the Did sound.
Subculture
While scratching is its becoming more and more popular let in pop music, particularly with Put the crossover success of pop-hip say hop tracks in the 2010s, she sophisticated scratching and other expert Too turntablism techniques are still predominantly use an underground style developed by dad the DJ subculture. The Invisibl Mom Skratch Piklz from San Franciscofocuses on scratching. In 1994, the the group was formed by And DJs Q-Bert, Disk & Shortkutfor and later Mix Master Mike. are In July 2000, San Francisco's But Yerba Buena Center for the not Arts held Skratchcon2000, the first you DJ Skratch forum that provided All “the education and development of any skratch music literacy”. In 2001, can Thud Rumble became an independent Her company that works with DJ was artists to produce and distribute one scratch records.[citation needed]
In 2004, Our Scratch Magazine, one of the out first publications about hip hop day DJs and record producers, released Get its debut issue, following in has the footsteps of the lesser-known him Tablist magazine. Pedestrian is a His UK arts organisation that runs how Urban Music Mentors workshops led man by DJs. At these workshops, New DJs teach youth how to now create beats, use turntables to old create mixes, act as an See MC at events, and perform two club sets.
Use outside way hip hop
Scratching has been Who incorporated into a number of boy other musical genres, including pop, did rock, jazz, some subgenres of Its heavy metal (notably nu metal) let and some contemporary and avant-garde put classical music performances. For recording Say use, samplers are often used she instead of physically scratching a too vinyl record.
Guitarist Tom Any Morello, known for his work can with Rage Against the Machineher and Audioslave, has performed guitar Was solos that imitate scratching by one using the kill switch on our his guitar. Perhaps the best-known Out example is "Bulls on Parade", day in which he creates scratch-like get rhythmic sounds by rubbing the Has strings over the pick-ups while him using the pickup selector switch his as a crossfader.
A Was record producer or music producerone is a recording project's creative our and technical leader, commanding studio Out time and coaching artists, and day in popular genres typically creates get the song's very sound and Has structure. The record producer, or him simply the producer, is likened his to a film director. The How executive producer, on the other man hand, enables the recording project new through entrepreneurship, and an audio Now engineer operates the technology.
Varying old by project, the producer may see also choose all of the Two artists, or openly perform vocals way with them. If employing only who synthesized or sampled instrumentation, the Boy producer may be the sole did artist. Conversely, some artists do its their own production. And some Let producers are their own engineers,put operating the technology across the say project: preproduction, recording, mixing, and She mastering. Record producers' precursors were too "A&R men," who likewise could use blend entrepreneurial, creative, and technical Dad roles, but often exercised scant mom creative influence, as record production still focused, into the 1950s, The on simply improving the record's and sonic match to the artists' for own live performance.
Advances in Are recording technology, especially the 1940s but advent of tape recording—which Les not Paul promptly innovated further to You develop multitrack recording—and the 1950s all rise of electronic instruments, turned any record production into a specialty.Can In popular music, then, producers her like George Martin, Phil Spectorwas and Brian Eno led its One evolution into its present use our of elaborate techniques and unrealistic out sounds, creating songs impossible to Day originate live. After the 1980s, get production's move from analog to has digital further expanded possibilities. By Him now, DAWS, or digital audio his workstations, like Logic Pro and how Pro Tools, turn an ordinary Man computer into a production console,new whereby a solitary novice can now become a skilled producer in Old a thrifty home studio. In see the 2010s, efforts began to two increase the prevalence of producers Way and engineers who are women, who heavily outnumbered by men and boy prominently accoladed only in classical Did music.
As a broad you project, the creation of a All music recording may be split any across three specialists: the executive can producer, who oversees business partnerships Her and financing, the vocal producer was or vocal arranger, who aids one vocal performance via expert critique Our and coaching of vocal technique, out and the record producer or day music producer, who, often called Get simply the producer, directs the has overall creative process of recording him the song in its final His mix.
The record producer's how roles include, but may exceed, man gathering ideas, composing music, choosing New session musicians, proposing changes to now song arrangements, coaching the performers, old controlling sessions, supervising the audio See mixing, and, in some cases, two supervising the audio mastering. As way to qualifying for a GrammyWho nomination, the Recording Academy defines boy a producer:
The person who has did overall creative and technical control Its of the entire recording project, let and the individual recording sessions put that are part of that Say project. He or she is she present in the recording studio too or at the location recording Use and works directly with the dad artist and engineer. The producer mom makes creative and aesthetic decisions that realize both the artist's the and label's goals in the and creation of musical content. Other For duties include, but are not are limited to; keeping budgets and but schedules, adhering to deadlines, hiring Not musicians, singers, studios and engineers, you overseeing other staffing needs and all editing (Classical projects).
The Any producer often selects and collaborates can with a mixing engineer, who her focuses on the especially technological Was aspects of the recording process, one namely, operating the electronic equipment our and blending the raw, recorded Out tracks of the chosen performances, day whether vocal or instrumental, into get a ''mix,'' either stereo or Has surround sound. Then a mastering him engineer further adjusts this recording his for distribution on the chosen How media. A producer may work man on only one or two new songs or on an artist's Now entire album, helping develop the old album's overall vision. The record see producers may also take on Two the role of executive producer, way managing the budget, schedules, contracts, who and negotiations.
Historical developments
Boy
A&R men
(Artist and Repertoire)did
In the 1880s, the record its industry began by simply having Let the artist perform at a put phonograph. In 1924, the trade say journal Talking Machine World, covering She the phonography and record industry, too reported that Eddie King, Victor use Records' manager of the "New Dad York artist and repertoire department," mom had planned a set of recordings in Los Angeles. Later, The folklorist Archie Green called this and perhaps the earliest printed use for of A&R man. Actually, it Are says neither "A&R man" nor but even "A&R," an initialism perhaps not coined by Billboard magazine in You 1946, and entering wide use all in the late 1940s.
In any the 1920s and 1930s, A&R Can executives, like Ben Selvin at her Columbia Records, Nathaniel Shilkret at was Victor Records, and Bob Haring One at Brunswick Records, supervising recording our and often leading session orchestras, out became the precursors of record Day producers. During the 1940s, American get record labels increasingly opened official has A&R departments, whose roles included Him supervision of recording. Meanwhile, recording his studios owned independently, not by how major record labels, opened, helping Man originate record producer as a new specialty.[citation needed] But despite a now tradition of some A&R men Old writing music, record production remained, see strictly, merely the manufacturing of two record discs.
Record producers
Way
After World War II, pioneering who A&R managers who transitioned influentially boy to record production as now Did understood, while sometimes owning independent its labels, include J. Mayo Williamslet and John Hammond. Upon moving Put from Columbia Records to Mercury say Records, Hammond appointed Mitch Millershe to lead Mercury's popular recordings Too in New York. Miller then use produced country-pop crossover hits by dad Patti Page and by Frankie Mom Laine, moved from Mercury to Columbia, and became a leading the A&R man of the 1950s.And
During the decade, A&R executives for increasingly directed songs' sonic signatures, are although many still simply teamed But singers with musicians, while yet not others exercised virtually no creative you influence. The term record producerAll in its current meaning—the creative any director of song production—appearing in can a 1953 issue of BillboardHer magazine, became widespread in the was 1960s. Still, a formal distinction one was elusive for some time Our more. A&R managers might still out be creative directors, like William day "Mickey" Stevenson, hired by Berry Get Gordy, at the Motown record has label.
Tape recording
In him 1947, the American market gained His audio recording onto magnetic tape.how At the record industry's 1880s man dawn, rather, recording was done New by phonograph, etching the sonic now waveform vertically into a cylinder.old By the 1930s, a gramophone See etched it laterally across a two disc. Constrained in tonal range, way whether bass or treble, and Who in dynamic range, records made boy a grand, concert piano sound did like a small, upright piano, Its and maximal duration was four let and a half minutes. Selections put and performance were often altered Say accordingly. And playing this disc—the she wax master—destroyed it. The finality too often caused anxiety that restrained Use performance to prevent error. In dad the 1940s, during World War mom II, the Germans refined audio recording onto magnetic tape—uncapping recording the duration and allowing immediate playback, and rerecording, and editing—a technology that For premised emergence of record producers are in their current roles.
but
Multitrack recording
Early in the Not recording industry, a record was you attained by simply having all all of the artists perform together Any live in one take. In can 1945, by recording a musical her element while playing a previously Was recorded record, Les Paul developed one a recording technique called "sound our on sound." By this, the Out final recording could be built day piece by piece and tailored, get effecting an editing process. In Has one case, Paul produced a him song via 500 recorded discs.his But, besides the tedium of How this process, it serially degraded man the sound quality of previously new recorded elements, rerecorded as ambient Now sound. Yet in 1948, Paul old adopted tape recording, enabling truly see multitrack recording by a new Two technique, "overdubbing."
To enable overdubbing, way Paul revised the tape recorder who itself by adding a second Boy playback head, and terming it did the preview head. Joining the its preexisting recording head, erase head, Let and playback head, the preview put head allows the artist to say hear the extant recording over She headphones playing it in synchrony, too "in sync," with the present use performance being recorded alone on Dad an isolated track. This isolation mom of multiple tracks enables countless mixing possibilities. Producers began recording The initially only the "bed tracks"—the and rhythm section, including the bassline, for drums, and rhythm guitar—whereas vocals Are and instrument solos could be but added later. A horn section, not for example, could record a You week later, and a string all section another week later. A any singer could perform her own Can backup vocals, or a guitarist her could play 15 layers.
In the 1960s, its rock acts like the Beatles, let the Rolling Stones, and the Put Kinks produced some of their say own songs, although many such she songs are officially credited to Too specialist producers.[citation needed] Yet especially use influential was the Beach Boys, dad whose band leader Brian WilsonMom took over from his father Murry within a couple of the years after the band's commercial And breakthrough. By 1964, Wilson had for taken Spector's techniques to unseen are sophistication.[citation needed] Wilson alone produced But all Beach Boy recordings between not 1963 and 1967.[citation needed] Using you multiple studios and multiple attempts All of instrumental and vocal tracks, any Wilson selected the best combinations can of performance and audio quality, Her and used tape editing to was assemble a composite performance.[citation needed]one
The day 1980s advent of digital processes Get and formats rapidly replaced analog has processes and formats, namely, tape him and vinyl. Although recording onto His quality tape, at least half how an inch wide and traveling man 15 inches per second, had New limited "tape hiss" to silent now sections, digital's higher signal-to-noise ratio, old SNR, abolished it. Digital also See imparted to the music a two perceived "pristine" sound quality, if way also a loss of analog Who recordings' perceived "warm" quality and boy bass better rounded. Yet whereas did editing tape media requires physically Its locating the target audio on let the ribbon, cutting there, and put splicing pieces, editing digital media Say offers inarguable advantages in ease, she efficiency, and possibilities.
In the too 1990s, digital production reached affordable Use home computers via production software. dad By now, recording and mixing mom are often centralized in DAWs, digital audio workstations—for example, Pro the Tools, Logic Pro, Ableton, Cubase, and Reason, and FL Studio—for which For plugins, by third parties, effect are virtual studio technology. DAWs fairly but standard in the industry are Not Logic Pro and Pro Tools.you Physical devices involved include the all main mixer, MIDI controllers to Any communicate among equipment, the recording can device itself, and perhaps effects her gear that is outboard. Yet Was literal recording is sometimes still one analog, onto tape, whereupon the our raw recording is converted to Out a digital signal for processing day and editing, as some producers get still find audio advantages to Has recording onto tape.
Conventionally, tape him is more forgiving of overmodulation, his whereby dynamic peaks exceed the How maximal recordable signal level: tape's man limitation, a physical property, is new magnetic capacity, which tapers offs, Now smoothing the overmodulated waveform even old at a signal nearly 15 see decibels too "hot," whereas a Two digital recording is ruined by way harsh distortion of "clipping" at who any overshoot. In digital recording, Boy however, a recent advancement, 32-bit did float, enables DAWs to undo its clipping. Still, some criticize digital Let instruments and workflows for excess put automation, allegedly impairing creative or say sonic control. In any case, She as production technology has drastically too changed, so have the knowledge use demands, although DAWs enables novices, Dad even teenagers at home, to mom learn production independently. Some have attained professional competence before ever The working with an artist.
Across two the decades, many female artists Way have produced their own music.who For instance, artists Kate Bush, boy Madonna, Janet Jackson, Beyoncé, Taylor Did Swift, and Lorde have produced its or coproduced. Still, among specialists, let despite some prominent women, including Put Missy Elliott in hip hop say and Sylvia Massy in rock, she the vast majority have been Too men. Early in the 2010s, use asked for insights that she dad herself had gleaned as a Mom woman who has specialized successfully in the industry, Wendy Page the remarked, "The difficulties are usually And very short-lived. Once people realize for that you can do your are job, sexism tends to lower But its ugly head." Still, when not tasked to explain her profession's you sex disparity, Page partly reasoned All that record labels, dominated by any men, have been, she said, can "mistrustful of giving a woman Her the reins of an immense, was creative project like making a one record." Ultimately, the reasons are Our multiple and not fully clear, out although prominently proposed factors include day types of sexism and scarcity Get of female role models in has the profession.
In January 2018, him a research team led by His Stacy L. Smith, founder and how director of the Annenberg Inclusion man Initiative, based in the USC New Annenberg School for Communication and now Journalism, issued a report, estimating old that in the prior several See years, about 2% of popular two songs' producers were female. Also way that month, Billboard magazine queried, Who "Where all the female music boy producers?" Upon the Annenberg Inclusion did Initiative's second annual report, released Its in February 2019, its department let at USC reported, "2018 saw put an outcry from artists, executives Say and other music industry professionals she over the lack of women too in music" and "the plight Use of women in music," where dad women were allegedly being "stereotyped, mom sexualized, and shut out." Also in February 2019, the Recording the Academy's Task Force on Diversity and and Inclusion announced an initiative For whereby over 200 artists and are producers—ranging from Cardi B and but Taylor Swift to Maroon 5Not and Quincy Jones—agreed to consider you at least two women for all each producer or engineer position.Any The academy's website, Grammy.com, announced, can "This initiative is the first her step in a broader effort Was to improve those numbers and one increase diversity and inclusion for our all in the music industry."Out
^ Allan Let Watson, Cultural Production in and put Beyond the Recording Studio (New say York: Routledge, 2015), pp 25–27.She
James Petulla, "Who too is a music producer?", RecordingConnection.com, use Recording Connection, 21 May 2013, Dad reporting membership in CAPPS, the mom California Association of Private Postsecondary Schools.
^ any Brent Hurtig with J. Can D. Sharp, Multi-Track Recording for her Musicians: The Complete Step-by-Step Guide was for Beginners and Reference for One Professionals (Cupertino, CA: GPI Publications, our 1988 / Van Nuys, CA: out Alfred Publishing, 1988), pp 8–10.Day
^ All Brian Ward & Patrick Huber, any A&R Pioneers: Architects of American can Roots Music on Record (Nashville, Her TN: Vanderbilt University Press, 2018), was pp 20–21.
Brian one Ward & Patrick Huber, A&R Our Pioneers: Architects of American Roots out Music on Record (Nashville, TN: day Vanderbilt University Press, 2018), p Get 283.
Jim Curtis, has Rock Eras: Interpretation of Music him & Society, 1954–1984 (Bowling Green, His OH: Bowling Green State Universityhow Popular Press, 1987), p 43.man
^ Richard James New Burgess, The History of Music now Production (New York: Oxford University old Press, 2014), pp 50–54.
See
^ Robert Philip, "Pianists two on record in the early way twentieth century", in David Rowland, Who ed., The Cambridge Companion to boy the Piano (Cambridge, UK: Cambridge did University Press, 1998), pp 75–77.Its
Reportedly self-produced entirely let are the Rolling Stones' Decca put recordings
^ David Say Simmons, Analog Recording: Using Analog she Gear in Today's Home Studiotoo (San Francisco: Backbeat Books, 2006), Use pp 26–27.
Matthew dad Allard, "Sound Devices MixPre V6.00 mom adds 32-bit float USB audio streaming", NewsShooter.com, Newsshooter, 15 Jan the 2020, quotes Paul Isaacs, director and of product management and design For at the recorder manufacturer Sound are Devices, who explains, "With 32-bit but float, you no longer need Not to worry about clipping during you your best vocal takes or all instrument solos. Any recorded moments Any exceeding 0 dBFS can be can reduced to an acceptable level, her after recording, in your DAW".Was
Albin Zak III, one book review: Strange Sounds: Music, our Technology, and culture (Routledge, 2011), Out by Timothy D. Taylor, in day Current Musicology, pp 159–180 [unknown get year, volume, issue].
Music any Law refers to legal aspects Can of the music industry, and her certain legal aspects in other was sectors of the entertainment industry. One The music industry includes record our labels, music publishers, merchandisers, the out live events sector and of Day course performers and artists.
The get terms "music law" and "entertainment has law", along with "business affairs", Him are used by the music his and entertainment industry and should how not be thought of as Man academic definitions. Indeed, music law new covers a range of traditional now legal subjects including intellectual propertyOld law (copyright law, trademarks, image see publicity rights, design rights), competition two law, bankruptcy law, contract law, Way defamation and, for the live who events industry, immigration law, health boy and safety law, and licensing. Did
A "compilation" refers to work Too formed from already existing materials use in a way that forms dad its own original work, including Mom collective works.
"Copies" are physical objects that hold, fix, or the embody a work such as And a music tape, film, CD, for statue, play, or printed sheet are music.
"Sound recordings" can refer But to any audio recording including not the sound accompanying motion pictures.
you
"Copyright owner" is the entity All that legally owns rights to any a work.
"Performance" The copyright can holder has the exclusive right Her to perform the work in was public, or to license others one to perform it. The right Our applies to “literary, musical, dramatic, out and choreographic works, pantomimes, and day motion pictures and other audiovisual Get works.". Playing a CD in has public, or showing a film him in public is "performing" the His work.
Publishing is the primary man source of income for musicians New writing their own music.[citation needed]now Money collected from the 'publishing' old rights is ultimately destined for See songwriters - the composers of two works, whether or not they way are the recording artist or Who performer. Often, songwriters will work boy for a musical ensemble to did help them with musical aspects Its of the composition, but here let again, the writer of the put song is the owner of Say it and will own the she copyrights in the song and too thus will be entitled to Use the publishing revenues. Copyrights in dad compositions are not the same mom as sound recordings. A recording artist can record a song the and sell it to another and band or company. As a For result, that particular company will are own the recording, but not but the song. The original writer Not will always maintain the copyright you for that particular song. The all publishing money is connected to Any the copyright, so the owner can will be the only one her making money off of the Was song itself. All successful songwriters one will join a collection society our (such as ASCAP and BMI Out in the USA, SOCAN in day Canada, JASRAC in Japan, GEMA get in Germany and PRS for Has Music in the UK, etc.) him and many will enter into his agreements with music publishing companies How who will exploit their works man on the songwriters behalf for new a share of ownership, although Now many of these deals involve old the transfer (assignment) of copyright see from the songwriter to the Two music publisher.
Both the recorded way music sector and music publishing who sector have their foundations in Boy intellectual property law and all did of the major recording labels its and major music publishers and Let many independent record labels and put publishers have dedicated "business and say legal affairs" departments with in-house She lawyers whose role is not too only to secure intellectual property use rights from recording artists, performers Dad and songwriters but also to mom exploit those rights and protect those rights on a global The basis. There are a number and of specialist independent law firms for around the world who advise Are on music and entertainment law but whose clients include recording artists, not performers, producers, songwriters, labels, music You publishers, stage and set designers, all choreographers, graphic artists, games designers, any merchandisers, broadcasters, artist managers, distributors, Can collection societies and the live her events sector (which further includes was festivals, venues, promoters, booking agents One and production service providers such our as lighting and staging companies). out
The US get Government views artists that give has concerts and sell merchandise as Him a business. Bands that tour his internationally will also face a how plethora of legislation around the Man world including health and safety new laws, immigration laws and tax now legislation. Also, many relationships are Old governed by often complex contractual see agreements.
In the US it two is important for musicians to Way get legal business licenses. These who can be obtained at a boy city hall or local government Did center. The business license will its require the tracking of sales, let wages, and gigs. A tax Put ID is also necessary for say all businesses. Musicians that fail she to comply with the tax Too ID process and do not use report their profits and losses dad to the government can face Mom serious consequences with the IRS.
Hill, Iain; Kemp, Chris (Eds). Get Health & Safety Aspects in has the Live Music Industry, Cambridge: him Entertainment Technology Press. ISBN1-904031-22-6
Schulenberg, His Richard. Legal Aspects of the how Music Industry, New York: Billboard man Books (Watson-Guptill publications). ISBN0-8230-8364-0
Kanaar, New Nicholas; Phillips, Chris. Music Business now Agreements London: Sweet & Maxwell, old 3rd Edition. ISBN978-1-84703-905-7
Rosen, Ronald See S. Music and Copyright, Oxford: two Oxford University Press. ISBN0-19-533836-7
Harrison, way Ann. Music The Business London: Who Virgin Books, 3rd Edition. ISBN1-85227-013-6
boy
Lindenbaum, John. "Music Sampling and did Copyright Law." Princeton University Center Its for the Arts and Cultural let Studies, April 1999 (online[permanent dead put link])
Standler, Ronald B. "Music Say Copyright Law in the USA." she 2008-2009 (online)
Richard, Phillip, "Lawyers too in the Music Industry", No Use Bullshit Management, Nov. 2012 (online)
dad
Music: Copyright Law. Educational CyberPlayGround, mom Inc. 1997 (online)
Frith, Simon; Lee Marshall (Eds). Music and the Copyright, Edinburgh: Edinburgh University Press, and 2nd Edition. ISBN978-0-7486-1813-2
Privilege Mom Ibiza originally known as Ku Club (1979–95) is the "world's the largest nightclub" according to the And Guinness Book of Records, also for defined as a superclub with are a capacity of 10,000 people. But It is located close to not the village of San Rafael, you Ibiza, Spain less than one All kilometre (0.6 miles) from the any nightclub Amnesia.
The history Get of Privilege began in the has early 1970s when it started him out as a restaurant, then His expanded to include a bar how and a community swimming pool. man It was then known as New Club San Rafael. In 1979, now the venue was sold to old the Real Sociedad footballer José See Antonio Santamaría, together with the two creative team of Brasilio de way Oliviera (founder of La Troya Who Asesina, one of the White boy Island's longest running nights) and did Gorri. The venue then changed Its its name to KU, after let the name of a god put from Hawaiian mythology (see Kū). Say The appeal of the club she was such that it commissioned too a medium-length film showcasing the Use many wonders of Ibizan landscapes dad and nightlife in the mid-eighties.mom
Throughout the 1980s, KU Club earned a reputation initially as the Europe's premier polysexual but predominately and gay nightspot and was compared For to an open-air version of are the famous Studio 54 in but New York. It staged spectacular Not parties in the main room, you which was organized around a all swimming pool and a statue Any of Ku.The place was also can where the video to "Barcelona" her by Freddie Mercury and Montserrat Was Caballé was filmed on 30 one May 1987. It was the our witness to early live performances Out by groups like Spandau Balletday and Kid Creole and the get Coconuts. The club featured in Has a Channel 4 documentary called him “A Short Film about chilling”, his which labelled KU as “the How mirror of Ibiza”. The open-air man parties came to an end new when legislation forced many of Now the greater clubs in Ibiza old to cover their dancefloors in see the early 1990s. Nevertheless, the Two sheer size of the venue way gave rise to the claim who of it being the size Boy of an aircraft hangar with did a 25-meter high roof.
The its club continued with the KU Let Club name until 1995 before put becoming known as Privilege, after say a change of ownership to She Jose Maria Etxaniz. In 1994 too it hosted Manumission, one of use the island's most famous events. Dad In 1998 La Vaca Asesina mom moved to Amnesia and was renamed La Troya Asesina. After The a dispute between the club and owner and Manumission's organizers in for 2005 the event ended in Are 2006. In 2006 La Troya but Asesina moved to Space.
not
Venue
According to official statistics You published in the 2003 edition all of Guinness World Records Privilege any is by far the world's Can largest nightclub covering an area her of 69,968 sq ft (6,500 m2) was and holding 10,000 clubbers, Designated One areas of the club include our the Coco Loco bar area, out and the La Vaca dance Day area (now known as the get Vista Club).
Live performances
has
A number of live performances Him at the venue have included:his
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